The English theatrical form of pantomime, which later came to be known simply as “Panto,” may not be familiar even to habitual theatergoers, but its concepts are certainly well known.

With its mixture of diverse ingredients, it seems to offer producers, writers and directors of the form nearly endless possibilities for creative expression.

That makes “A Snow White Christmas,” the Lythgoe Family Productions show now at Pasadena Playhouse, something almost as enjoyable for its cast as for the audience, which will probably be top-heavy with children if the production’s goals are realized.

Kids will likely appreciate the glitzy, updated version of “Snow White and the Seven Dwarfs,” the inclusion of pop/rock music and dance, the performers’ interacting with the audience, and such novelties as the appearance of a miniature pony.

In crafting the show, writer Kris Lythgoe and director Bonnie Lythgoe have, in effect, created something new – a distinctly American take on a British form that’s existed since roughly 1715.

Her parents long since murdered, fair maiden Snow White (Nickelodeon star Ariana Grande) lives in a castle with her aunt, the Wicked Queen (Charlene Tilton), who doesn’t enjoy being told by her Magic Mirror (Neil Patrick Harris) that niece Snow is the fairest female in the land, and so sets out to kill her.

Few changes have been wrought upon the familiar tale; what distinguishes it from other stage versions is its loose, fun, off-the-cuff sensibility. Court Jester Muddles (Jonathan Meza) loves Snow, so will do anything for her. But once she lays eyes upon Prince Harry (Curt Hansen), a childhood playmate, Snow is convinced he’s her true love.

Even despite its many concessions to younger audience members, this is one “Snow White” that’s apt to tickle older viewers too, what with its constant stream of double-entendres aimed at pop culture personalities and institutions.

The musical numbers are light, sprightly and energetic. The song-and-dance skills of the principals are augmented by work from “The Spencer Liff Dancers,” a sextet run by the show’s choreographer, Spencer Liff. Michael Orland’s musical direction wrings solid pop vocals from the cast and assured music from keyboard player Keith Harrison and percussionist Brian Boyce.

Grande is an exceedingly good young pop singer, a fact she proves in numbers like “Voodoo Love” (of which she is co-composer and lyricist), Katy Perry’s “Firework,” Lady Gaga’s “Born This Way,” Huey Lewis and the News’ “The Power of Love,” and more.

Even if some of the in-jokes are over their heads, kids seeing the show will enjoy the youthful energy Grande, Hansen and Meza bring to their roles and to their singing and dancing in musical numbers all clearly products of our era.

Prince Harry is happy-go-lucky and swellheaded, and Hansen so strongly resembles a young Tom Cruise that one of the characters identifies him as such. Meza’s clowning is silly and relaxed while functioning as the perfect vehicle for audience interaction.

Tilton is still associated with the role of Lucy Ewing on “Dallas,” yet older viewers familiar with her work would be hard pressed to make that connection. Her portrayal of the queen is intentionally comedically over the top, marked by a husky, throaty laugh and shades of Mae West and Tallulah Bankhead.

The script serves up comical references to Lucy Ewing and Southfork Ranch plus good-natured mentions of Pasadena (like Colorado Boulevard and the Rose Parade), while Tilton is referred to as “the Queen of North Hollywood.” Comments that refer to the iPhone, Bill Gates, Demi Moore and Kate Middleton are so un-fairy tale-like, they’re spontaneously funny.

In prerecorded footage, Harris’ performance as the Magic Mirror is calm and reined-in, nicely balancing Tilton’s deliberately arch portrayal of the queen, and the script lets Harris indulge in some self-deprecating humor. By contrast, David Figlioli’s Herman the Huntsman is sturdily broad-shouldered yet kind-hearted.

The wildly kinetic musical numbers incorporate hip-hop and other current dance trends that goose songs like the Dwarfs’ version of “The Lazy Song”; a re-creation of Michael Jackson’s “Thriller” in a dark forest is an Act One highlight.

As a further concession to kids and families, two different “teams” of seven youngsters appear in alternating performances, portraying the Dwarfs and some of the realm’s subjects. Their agility and athleticism make the show’s many dance numbers exciting.

About the only thing really missing from this staging is the look, sound and flavor of the winter holidays – surprising in that the word “Christmas” figures so prominently in the title. The show is perfect for families, and it’s well-suited to the spirit of the winter holidays, but its reference to Christmas can only be a marketing hook.

The Lythgoes’ approach to their material belies both the original’s innocence and a stylized look, via the sets and costumes, that strongly suggests Disney. The staging’s engagingly breezy tone could mean that American-style Panto may have found a permanent home in Pasadena.

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